Sans Grease Paint and Wig (1912 to 1914) đșđž
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âThere! youâre the wappiest looking little âwapâ everâ |
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âI write, produce and take the lead in my own pictures. My record so far is to write and produce a picture in six hours. Easy!â |
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âI was the first legitimate star to go into picturesâ |
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âIâve never been interviewed by a girl in my lifeâ |
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âAir is food and drink to me. Reallyâ |
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âI like pictures so well that Iâm anxious to like the making of themâ |
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âI try to be funny in my appearance and my actions on the screen: funny but never repulsive. Always odd, but never repulsiveâ |
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âI threw my coat at somebody and ran down the middle of that howling crowdâ |
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âItâs five years since I went into picture workâ |
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âIn the fall one wants to be right in New York; there is everything one wants in New Yorkâ |
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Clara Kimball Young (March 1914) âFat? Itâs the new kind of skin-food Iâm using!â |
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Clara Kimball Young (September 1914) âI want to play every variety of emotion. I love the dramatic and I intend to reveal it; I like good comedy, too; but I do not care about burlesqueâ |
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âTerrible times Iâve had in New York â terrible!â |
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âI just love the work because there is always something new and the players have time to live like real peopleâ |
 
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ââLab-a-dieâ is the correct way, but I donât mind how it is pronounced. It should have been âSmithââ |
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âIf I was dressed as a messenger boy, it must have been a hot dayâ |
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âI seemed to fill the requirement of the youthful lead, so here Iâve been ever sinceâ |
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âThereâs always more fun in doing what one shouldnât doâ |
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âFiery red [hair was] the curse of my young life, but thank heaven, I was spared watery blue eyesâ |
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âAffectation spoils any picture for me â but there are people who seem to believe in itâ |
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âMy work in pictures has earned me the title âdare-devil.â There is nothing I have been asked to do that I didnât doâ |
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âIâm dreadful at higher mathematicsâ |
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âI can express any emotion, interrogative or otherwise, with my eye-brows.â |
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âItâs been a rush from one scene to another and from the studio to the dressing-room and back again. And thatâs what I love â lots of rushâ |
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George Periolat (December 1912) âPhotoplays are the greatest things in the world, today; and theyâve just started. The players who get into them now, while the profession is still young, are luckyâ |
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We donât work on the picture every day, but when we do, we work hardâ |
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âIf you donât mind, we can talk while I dress for the next sceneâ Â |
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If others were as critical as I, Iâm afraid people wouldnât like my work at all.â |
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âI put my foot in my mouth every time I open it, and I canât tell you any pretty tales to make a story out of; all I can do is tell you the truthâ |
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âWhere did I put that lemon? I should have swallowed it long ago, but I forgot. It helps my voice, you knowâ |
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âAppearance is a study, and clothes are as much a part of this study as grease-paint and wigâ |
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âThereâs room for me out-of-doorsâ |
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âI like my work, I like the Edison people, and my husband and I have the best times in the worldâ |
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âNot that I would have objected to becoming president of the bank, some day, but there were several men ahead of me who would have had to die firstâ |
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âI believe too, that the object should be to project thought, in making a meaning clear instead of gesticulating. These are simple methods, but simplicity always scores strongestâ |
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âIâm usually cast as âheavyâ but in the picture we came here to make, I have a straight part. The character and I last throughout the four reels.â |
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âI can do the most daring things and not get a scratch, but the minute I try something easy I nearly lose my lifeâ |
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âItâs necessary to be in touch with things right at their heart, with all due respect to Jersey.â |
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âI began my stage work as a quartetâ |